We set sail at lightning speed, with waves crashing in every direction. Not just in the music—on stage, too, where Daland’s ship is forced to seek shelter while the sailors turn greener than a batch of overcooked peas. The towering rocks on either side of the stage are more “fantasy adventure” than “Norwegian fjord”—like the set designer went rock-hunting in a magical backyard. But really, who’s counting boulders when there’s a ghost ship lurking on the horizon?
Peter Konwitschny’s almost two-decade-old production has sailed back into Bayerische Staatsoper. With the opera split into three acts, we’re treated to three different stage settings.
At first glance, this might seem like a traditional production—but don’t be fooled. Sure, the Dutchman looks every bit the classic pirate, only a peg leg or an eyepatch away from completing the look. But just as we settle into the stormy gloom, Act Two throws us headfirst into what appears to be… a spin class. And not just any spin class—one with a screaming ’80s/’90s dress code. The stage is so brightly lit that it’s almost blinding, like when someone flips on the lights first thing in the morning before you’ve even had a chance to prepare yourself.
Now, I do quite a bit of spinning myself, and I have to say—I’ve never been to a class with this level of luxury. For starters, yellow water bottles are elegantly served from a tray, crisp white towels are handed out, and one lucky cyclist even gets a casual mid-workout massage. This is next-level stuff—shoutout to my gym, here are a few tips to take note of!
Only women are pedaling away, their legs moving faster than the plot… Over on the side, there’s a bar, complete with—wait for it—a blender. (Someone please tell me where I can sign up for this class?)
On the back wall, two pictures of shirtless dudes add to the décor, but they don’t even make Senta blink. Her heart (and eyes) are locked on the grand, brooding portrait of the mysterious Dutchman. Naturally, this doesn’t sit well with Erik, who’s standing there in a white bathrobe. His jealousy is practically steaming off him like he just stepped out of a sauna—which he probably also just did?
Benjamin Bruns breathes some much-needed life into the otherwise rather sulky Erik. And he’ll soon be taking on Parsifal in Hamburg—so if you want to hear more of him, you won’t have to wait long!
When the Dutchman strolls in wearing his black pirate gear, he’s basically stepped out of a vintage adventure flick—totally in contrast to Senta, who’s by the way rocking her long pink leg warmers!
Of course, it only takes a few seconds before they’re completely smitten, and just to seal the deal, he’s brought along a grimy dress for her so they can really match. Aww, now that’s what I call a thoughtful gesture! And just when you think it can’t get any more swoon-worthy, she gets a veil, and suddenly—the lights in the audience goes on. Honestly, it’s a bit of an anti-Wagner move (find out why under Fun Fact!). I guess even the Dutchman has his moments of showmanship!
Bayerische Staatsoper’s very own Wotan (Nicholas Brownlee) has taken a little vacation from running the universe and making gods sweat, and decided to try on a pirate hat for a while. And let me tell you, this Wagnerian voice sails effortlessly through every note—high, low, and everywhere in between—like a seasoned captain navigating the musical seas. Just when you think he’s given it all, he raises the stakes in the drama of the final scene, throwing a full-on tantrum when he thinks Senta’s about to betray him. His voice then goes full-throttle, shining brighter than a treasure chest at the bottom of the ocean.
In this scene, we find ourselves in what looks like a bar hidden deep in an old warehouse—where the lighting is dim, the air smells like stale beer, and the crowd’s knocking back pints like it’s Oktoberfest. They’re all having a good laugh, especially at Daland’s first mate, who’s a bit of a walking enigma here—like that one friend who’s always five minutes behind the conversation, and you’re never quite sure if they’re playing it cool or just genuinely confused.
But thankfully, the same can’t be said for the tenor, Tansel Akzeybek. His voice? It’s like a pint of perfectly poured lager—rich, smooth, and with lovely long phrases.
There’s a lot of action on stage, with numerous people singing at once, and while it creates a lively atmosphere, it can occasionally lead to some moments of imbalance between the singers and the chorus. This lack of synchronization does become noticeable in other scenes as well, where the ensemble’s energy doesn’t always align, making some moments feel a bit chaotic.
The man who steers the ship and, in a way, sells his daughter for gold is Daland. The ever-experienced Franz-Josef Selig fills the stormy space with his sonorous voice from the very first phrase. His voice is broad, with a kind of atmospheric aura that swirls around the tempestuous air, creating a whirlwind of sound. And this storm? Well, it seems to have no end—at least not one that any of the singers will see anytime soon.
Originally, Senta takes a dramatic dive off a cliff when the Dutchman sails away. But nope, not in this version. If she can’t get what she wants, no one else is getting anything either. So, she blows the whole thing to pieces—literally—with one massive bang. And by the time the final notes play, it’s no longer coming from the orchestra pit, but from something that sounds like a broken speaker you’d find in an old, forgotten attic. There they are, all holding hands, as if they’re about to float up to the heavens. It’s a huge, high-flying climax… followed by a crash landing into an anticlimax. Definitely didn’t see that one coming!
Fun Fact!
Wagner was one of the first to demand the lights be turned off during performances. No more socializing or snacking – it was time for the audience to be swallowed whole by the drama!
Cast:
- Conductor: Patrick Lange
- Stage Director: Peter Konwitschny
- Stage and Costume Designer: Johannes Leiacker
- Light Designer: Michael Bauer
- Dramaturg: Werner Hintze
- Choir: Christoph Heil
- Daland: Franz-Josef Selig
- Senta: Camilla Nylund
- Erik: Benjamin Bruns
- Mary: Natalie Lewis
- Der Steuermann: Tansel Akzeybek
- Der Holländer: Nicholas Brownlee
Bayerisches Staatsorchester
Bayerischer Staatsopernchor und Zusatzchor der Bayerischen Staatsoper
Extrachor der Bayerischen Staatsoper
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